Cornelius L. Reid Project

Singer G - Lesson Excerpt (10/25/06)

February 03, 2020 Cornelius L. Reid Season 3 Episode 7
Cornelius L. Reid Project
Singer G - Lesson Excerpt (10/25/06)
Chapters
Cornelius L. Reid Project
Singer G - Lesson Excerpt (10/25/06)
Feb 03, 2020 Season 3 Episode 7
Cornelius L. Reid

Comment: The chest voice on the bottom is used aggressively to help the bracing action needed from the chest voice for the high soft notes. Cornelius says, "Here, we study voice" which refers to functional listening.

Quote: Learning to hear functionally means that one judges and evaluates tone qualities for their intrinsic health, and as a reflection of a coordinative process, rather than for any aesthetic value. Not every healthy sound yielded by the vocal organs is lovely, any more than all sounds judged to be agreeable to the hearing are functionally healthy. Purely aesthetic listening limits progress, as many qualities having little or no aesthetic value can often be extremely useful to the training program. Two such cases in point are the rather crude chest register sounds that sometimes appear in the initial stages of training when working with a badly coordinated female voice, and the male falsetto. Neither possesses aesthetic value, but each is important to the restructuring process. (Voice: Psyche and Soma) 

Show Notes

Comment: The chest voice on the bottom is used aggressively to help the bracing action needed from the chest voice for the high soft notes. Cornelius says, "Here, we study voice" which refers to functional listening.

Quote: Learning to hear functionally means that one judges and evaluates tone qualities for their intrinsic health, and as a reflection of a coordinative process, rather than for any aesthetic value. Not every healthy sound yielded by the vocal organs is lovely, any more than all sounds judged to be agreeable to the hearing are functionally healthy. Purely aesthetic listening limits progress, as many qualities having little or no aesthetic value can often be extremely useful to the training program. Two such cases in point are the rather crude chest register sounds that sometimes appear in the initial stages of training when working with a badly coordinated female voice, and the male falsetto. Neither possesses aesthetic value, but each is important to the restructuring process. (Voice: Psyche and Soma)