Скачать с ютуб How a boy soprano should sound. Sistine Chapel Choir - Crux fidelis/Pange lingua [Bartolucci], 1960s в хорошем качестве

How a boy soprano should sound. Sistine Chapel Choir - Crux fidelis/Pange lingua [Bartolucci], 1960s

This is how a child singer's voice sounds when it has been allowed to develop from an infant to adolescent unhindered and untampered with. The coordination is almost exactly the same as all of the greatest of the greatest singers. Let your ear draw positive comparisons with the voices of Melba, Tetrazzini, and Moreschi for instance. Let the contrasts, though, be heard through differences of scale: the size of the apparatus and the relative strength and vigor of the bodies of the older singers. The greatest singers were those who either were able to continue singing from childhood through adulthood with the voice physiologically in this untampered-with state or—through exercise, study, intuition, and self-realization—developed or returned their bodies to this state. This "state" is not mystical state but a physical one—the perfect "impostazione" (setup) of not just the intrinsic laryngeal muscles but especially a symmetric equalization of the suspensory muscles attached to the hyoid bone (there are two sets of 4/5 muscles, comprising a minimum of 20 vectors of force along 8 radial directions of the human body) and their relationship to the postural muscles of the neck and shoulders, and yet their relationship to the clavicles, ribs, scapulae, deep paraspinal muscles, hips, and even the flexors of the foot and toes! Of course, not all singing traditions currently understand this and may prefer some other the sound. That sound is obtained by manipulation, first consciously by the ear and the mind and then unconsciously by the muscles of the throat, whose perfect coordination is slowly disintegrated... and then by the engagement of the muscles of the neck, jaw, and lips, whose job it now becomes to actuate the voice and hold it together for as long as the body can withstand the contortion or until the boy's voice changes at puberty, after which point, his body now learned in the art of contortion for act of sound making, will start the process anew with a yet larger apparatus. Those children, being disallowed from remaining in the natural, coordinated state cannot sing the way heard in this recording. Those child singers that do manage to retain the natural coordination and not muck about with it—and I do mean ones other than from the historical Sistine Chapel or other Roman basilica choirs—share almost exactly the same vocal qualities with each other, contra-distinct from the child singers described here above. Score for this gorgeous motet can be found here: https://bit.ly/3qclaw3 ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): https://bit.ly/2W4qmE3 #CappellaSistina #BoySopranos #Trebles