2 A-HA moments:
1) The Vibrato Controversy on page 133 was interesting and it is not only in singing where you have debating/opposite sides and opinions on vibrato. The book explains that "one group thinks that vibrato is generally undesirable," and "the other camp thinks that vibrato should be eliminated in certain types of music." It is the same way when playing trumpet and other instruments as well. Some teachers want to eliminate vibrato completely, and other teachers like the use of vibrato depending on the style.
2) I had heard of head voice/chest voice before, but in reading chapter 8, it explains that "some vocal authorities argue that pitches between the lower and upper registers do not lie in a "middle register" (just head voice/chest voice), but others believe that there is a "distinctive tonal quality" which would be a "middle register."
2 Questions:
1) Page 128 describes where Vibrato is appropriate in music. I've been in choirs before where you always have those singers that sing with large amounts of vibrato. They don't try to blend, they try to stand out. What do you do in these situations? How can you deal with the young singer that sings with immense amounts of vibrato?
2) How would you know if you are singing in the "whistle register" healthily if you do not have a voice instructor? Can you tell by how it feels, and the clarity of the note?
*Weird question, but I've always wondered about this... When Ariana Grande sings in the whistle register, is she doing it in a healthy way?*
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