Chapter Summary: The previous inventions focused exclusively one part of the singing process, the chiaro or the oscuro, in an effort to isolate and better feel those parts of our voice, but either extreme results in unhealthy singing. The idea behind this third invention to fuse the chiaro speech and the oscuro breathing to achieve a healthy blend of the two since neither can truly exist healthily in it's own rite. That's what he means when he says they're not mutually exclusive, that is, both must be present in the right balance for any right balance to exist. For example, there should always be the sighing and releasing quality in our voice as well as the speaking, but in the lower range the speaking will be more dominant than the sighing, and vice versa for higher range. Every pitch should have the full quality of speaking and sighing.
Key Concept: A balance between chiaro, our natural, core voice stemming from speech, and oscuro, free-flowing breath, results in the our most free, resonant, and biggest sound for our whole instrument.
Key Terms:
Making Connections: Of course I want to achieve a perfect chiaroscuro blend in my voice because the technique will free me up to sing any kind of music in any genre, not just classical repertoire. I find that the chiaro part of my voice comes more naturally to me and I tend to be chiaro heavy.
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