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Timbre, beauty and harmonious voice

Today I would like to touch on the issue of timbre, beauty and melodiousness of our voice. It is often said that a woman loves with ears, and a man loves with her eyes. But I have a feeling that everyone loves with their ears, and with their eyes selectively, aesthetes and especially spoiled lovers of beauty.

So, the voice is important for everyone, especially for singers. And for ordinary people – not musicians – the beauty of the voice is also important, because it depends on whether your voice is sweet or not, whether the girl will fall in love with you or not, whether the director will like you or you will not immediately like him, whether the client will trust you Or, on the contrary, immediately turn away from you and slam the door in front of your nose.
Let’s analyze the voice from the standpoint of music, although this approach, I think, will be very useful for ordinary life.

So, as we said earlier, the voice is distinguished by its pitch and timbre. Female voices are higher than masculine ones, although low female voices – contralto and high male ones – tenors are sometimes very similar in sound, even so that they can be difficult to distinguish.

When a child begins to study music and singing in childhood, it is very likely that his range will develop quite well, and by the age of 12-13 he will learn to use at least one and a half octaves. That is, a person, having matured, will be able to possess both high intonations of his voice, and very low ones – deep and soft. But, unfortunately, for some reason – upbringing, habits of speaking one way or another, surroundings, professions – sometimes people use a very small, frankly speaking, scant range in ordinary conversational speech. Some women, for example, tend to talk in a bus in shrill, thin voices:

‘And I bought such blouses on sale! Super!’

‘And I’m high boots – class !!!’, – a friend has echoed even more subtle and shrill, ‘school’ voice.

The ladies speak in such a way that it seems as if they have no voice of deep, beautiful overtones in nature at all. But actually it is not. If you hold a small vocal-speech training with women from the bus, then they will suddenly find soft, low notes in their voice. But slow speech, not harsh and shrill voice act on others around it soothingly and pacifyingly. The incredible cries of children in secondary schools when they ‘rest’ on recess, as studies have shown, increase the level of irritability of teachers. Teachers start to get nervous from the screech of schoolchildren, break down and start shouting at the wards with sometimes no less high and sharp voices. And children, in turn, are turned on. And it turns out a vicious circle. A way out of it – lowering the intonation of the voice, reducing the rate of speech. In order to achieve such skills, there are special vocal-speech exercises.

It must be said that among the professionals there is a so-called ‘staged’ voice (it is used by singers, lecturers, presenters and artists), and the ‘undelivered’ – ordinary, everyday.

What are the signs of the set voice? This is, above all, a beautiful timbre, as far as natural qualities of a person allow. This is the power of the voice (try, like an opera singer, to sing the orchestra playing forte from the orchestra pit). Here and a special ability to withstand long sounds. And this quality is gained through the use of certain breathing exercises.

In order for sound to be heard well in huge and even in medium-sized halls and auditoriums, the voice must also have a so-called “flight”. What is flying? This is when you get lost in the forest, scream, and your ‘Ay!’ everyone hears right away, because the sound flies well. And others shout, they seem to be trying loudly, and their voice seems to be stuck and falling not far from the speaker. The flight of sound is made up of different things. This is the work of resonators, and proper breathing, and masterful ability to round and send sound.

In order for a voice to sound strong and beautiful, you must be able to use registers. Singers belonging to a strong half of humanity, as a rule, are able to use the chest (rich and rich) voice register, and the fake (high, less bright) voice in one situation or another. Female vocalists, conveying the sensuality of romances or the drama of operatic parts, use both the head (high) register and the breast (low) register, as well as the central register (connecting the head and chest registers).

The ability to go in time to one or another register, lower or raise the voice, reduce the volume or slow down the rate of singing or speaking – this is in general terms masterful voice skills. The voice conveys certain sensations and experiences. A voice can excite feelings, it can calm. A voice, after all, can simply fall in love with itself.

When setting the voice, the teacher usually has many specific tasks, which later, when summed, will necessarily lead to the desired result.

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