A good teacher can determine in 30 seconds whether a person has studied at music school. And to do this it often turns out to have an impersonal timbre and a gruff voice, the fault of which is to sing in a choir or play a solo, interrupted by the cracking of the voice. This was told to socialbites.ca by Alexandra Stroytseva, a specialist in voice description, vocal teacher and founder of the online vocal school “Vocal Lessons from Sasha”.
According to the expert, the first problem most people who go through music school experience is a distorted sound.
“This happens to those in the choir all the time. The so-called choral timbre is soft, almost childlike, with no loudness and pincers in the top notes. The thing is, the chorus is about perfect harmony, where each participant has to sing as one. It blends perfectly with other sounds. The choir does not like unusual timbres, bright sounds. The result is an impersonal timbre that sounds perfect in an ensemble, but does not work solo, ”said Alexandra Stroytseva.
He noted that the only exception was those who played solo in the choir. However, such vocalists also have problems, and which, by the way, girls also have, often after they break their voices.
“When the voice begins to break, children do not understand how to sing correctly and often injure their vocal cords or stop the music altogether. As a result, the sound is completely clamped, the top notes are lost. These children must be taught to sing again and in an adult way: smoothly, without jerks, ”said the vocal teacher.
The voice disclosure specialist recommended that the boy continue to study at a music school, but at the same time keep his voice bright, study vocals individually with a teacher at least once a week, and pop vocals are the best. It is worth discussing with the teacher in advance so that the work is aimed specifically at the development of singing skills: resonators, vocal support, expanding the range.
“If a child is singing in the choir and you can’t let it go, then it’s better to switch to at least lower voices – the first or second alto. Stroytseva therefore concluded that she would not “template” her voice in high notes and would “avoid the choral timbre”.
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