Good morning everyone! Its 6:32 in the morning and I find myself once more entrenched in another quandary of the self-reflective kind. Essentially the default singing voice that I use is very much baritone- colored, it is deep and heavy with a surprisingly comfortable bass-baritone extension for someone of 26 years, and a quasi-tenor ringing at the top of the full voice. Though I have been training my full voice to be able to hit higher notes (falsetto, drive and whistle register are another matter entirely. Though you see what Im getting at. Purists may call it over-egging the pudding.) For a while I have been wondering, as to whether I work or not, as one of my bands components - perhaps one of its key components! Though dont get me wrong, when we play live I feel wonderful and all qualms go out the window as I encourage my audience to indulge in the joy that I feel. I know that this cant be a rare issue with singers (male and female) who find themselves almost trapped within a certain voice type (range is another matter), that they almost wish they didnt have. Perhaps the baritone or contralto timbre that they possess is thick and heavy and not agile enough for their bands cheery numbers. The natural dramatism is overlooked as a deficiency. Or maybe the sopranos sweet spot is completely lost on material she would love to be able to dip down to. Things like this. When I think of successful artists who are ostensible and unashamed baritones: Ville Valo, Till Lindemann, David Bowie, Bruce Springsteen, Nat King Cole, Elvis Presley, Frank Sinatra for pitys sake, I am reassured somewhat. Certain baritones have such technique that they sing in and around the tenor area habitually - Michael Bolton and Tom Jones are good examples of this. As is the famous case with opera star Placido Domingo- a true case of professionalism, and a baritone voice that learnt to sing convincing tenor beautifully and with drama. He now sings in the lower baritone area, as it is his now his strongest suit, and at his age is less detrimental physiologically. I am aware that a singer singing outside of his or her natural full voice type ( though even bass baritones could become countertenors and sing in falsetto 100% if apt) is probably the biggest, most career shortening thing one can do. However I am perfectly aware that this is more than just an I want to be a tenor argument, and it stems from deeper uncertainties. I adore a lot of tenors with weight, variance and skill in their voices; Freddie Mercury (even though his early technical shortcomings lead to nodules as early as 1979), Jeff Buckley, ROY ORBISON and Judas Priests Rob Halford for example. Plus in my view a pre-illness Lou Gramm of Foreigner could make Robert Plant (wonderfully expressive voice) cream in his Black Country pants! Romantic projection of their achievements onto what I am... unable to do in the same way, I know is a bad habit. I do feel that a lot of people could learn from what I feel, and therein sidestep these emotional pitfalls. Having a wide range (as I do) is one thing, using your voices core attributes wisely is another matter. If singers embraced their true natures more, there would be more variation, and less biological and emotional trauma inflicted. This is something I am slowly accepting. I sing strongly in an area that nearly all other live singers local to me just dont do. SO WHAT IS THE HARM IN STANDING OUT, Michael? There isnt any. So long as I take care of my instrument and make whats unique about it come to the fore. This I believe, is a problem with many vocalists - craving something else whilst negating what comes naturally and intrinsically to us. If we cannot accept ourselves, we dont have much of a right to demand acceptance from the ones were meant to entertain and absolve of worry for a little while. Apologies for the brain-dump but what do you all think?
Posted on: Fri, 14 Nov 2014 07:08:36 +0000
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