Beautiful voice test. How can you tell if there is a voice? How to check for voice

As I understand it, since you came to read this article, you are specifically concerned with determining your voice or determining the voice of your student. This topic, as you understand, is very long and I will not now delve into the differences between voices according to their spin or size, which I already wrote about in the article “”. I think you are interested in the definition of voice by type, i.e.: , etc. By the way, no matter what you write here about the characteristics of various voices, you can familiarize yourself with them in detail in the “” section; I hope that information will also help you. I think it’s generally difficult to overestimate.

I’ll say right away that it’s impossible to read the text and get up from your computer desk or remove the phone from which you’re reading it from your field of view and find out how to do it without having vocal school just take it and determine your voice type. I can only help those who are at least somewhat educated, who have guesses, etc. In general, no matter what the cunning, I will simply explain the ways in which teachers determine the student’s voice, and you decide for yourself, and if after this information you remain unsure, then the road to music school or a private singing teacher has been ordered for you.

So. Now the actual set of signs by which the voice type is determined:

1. 1. Timbre. Well, of course, the first thing they look at is the sound, color, density of the chest and head registers of the voice, what can I say, if Magomaev, for example, was a baritone, then this purely baritone timbre cannot be confused with anything, of course, some tenors can portray low baritone notes, but it will be compressed, little sonorous, not colored. And vice versa, a baritone will not be able to portray the lightness and flight of the upper formant that a tenor will demonstrate. It’s the same story with soprano and mezzo, and in principle with any voices. In general, experienced teachers determine the timbre of a student’s voice simply by internal sensations and intuition, because they have already heard so many voices throughout their lives that it is almost impossible to deceive their ears.
2. 2. Transitional notes. Each voice has transitional notes, “bridges” between the registers, head and chest. There is also a theory that each voice has 3 registers and debates on this topic still drag on for centuries, but this is not about that now. One way or another, these adapters exist and by feeling them, it is also possible, although not with 100% certainty, to still determine the type of voice, for example, a tenor has transition notes E-F # of the first octave, a baritone has D-E flat of the first octaves, mezzo transition notes: D-E flat of the second octave, soprano E-F# of the second octave, etc. That's good idea for the next article I found one about transitional tones. But it should be remembered that experienced singers do not feel transitional tones and simply forget about them.
3. 3. Range. This is probably the most flexible criterion on this list. initial stage learning to sing, the range is mostly small for everyone and doesn’t tell anyone anything, but as for opera singers, then their ranges are often 2.5 – 3 octaves, which means this is not a criterion. Many mezzos sing in the Soprano tessitura, and vice versa, contraltos can reach the top notes of a mezzo, tenors can reach the notes of baritones, basses can sing in the tessitura of baritones, etc. Of course, not everyone has these abilities, but they still exist. U good singers There’s always a wide range and there’s no getting around it.
4. The structure of the larynx and ligaments. Once upon a time, there were rumors that phoniatrics could supposedly predict a singer’s voice by looking at the ligaments or do the same based on the size and shape of the Adam’s apple. Allegedly, in tenors, the Adam's apple is small and barely noticeable, while in basses it is large, etc. But after examining at least a couple of dozen singers, you will immediately realize that this is far from the case and the type of voice does not depend on the structure of the larynx, and as for the ligaments, this criterion cannot mean anything either. Ultimately, if the structure of the ligaments plays a role, then their size, thickness, strength, elasticity, mobility, etc. must be assessed.
5. Body type. The myth that mezzo-sopranos and tenors are necessarily plump, and basses and coloraturas are necessarily skinny, just as has no place as a well-founded and proven theory of voice determination, because according to statistics, there will be more than half of the exceptions in this theory, which means that the theory does not makes sense.
6. Ability to withstand tessitura. As for this ability, everything is clear here; it means the singer’s ability to sing for a long time in a uniformly high or low tessitura.

For example, if a baritone is able to take tenor notes, and even has a timbre similar to a dramatic tenor, this does not mean that he is a tenor, because whatever you say. But for a tenor, sometimes the tessitura of the entire work is so high that the ability to hit a high note just once will not save you, but the tenor is designed in such a way that he is able to maintain a high tessitura throughout the entire opera, etc. Although of course, I already wrote about the singer , who could give odds to many tenors and he reached up to # 2 octaves, which seems incredibly simple.

Should we conclude from the above that each person makes his own voice from scratch? - "No! Certainly". Because even despite the fact that individually all these factors are not significant, together they give rise to the whole science of “voice determination.” Nature, after all, has invested in each of us a special list of abilities, and it is best to reveal what we already have, and even life may not be enough for this, let alone transforming ourselves.

Uv. Ladies and Gentlemen!

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You might be singing like a rock star in the shower or in the car, but sometimes it's hard to objectively evaluate your own vocal abilities. It turns out that it’s quite possible to evaluate yourself if you learn to listen and hear correctly. Record yourself and pay attention to tone, pitch, and ability to control your voice. The good news is that almost anyone can learn to sing well. Follow simple recommendations to develop your vocal abilities.

Steps

Part 1

Assess the overall tone and timbre of your voice. Timbre is general characteristics the sound of the voice. If you hit all the notes but the tone or timbre doesn't match the song, the performance won't sound right. in the best possible way. Pay attention to how clearly and consistently you emphasize vowel sounds, how fully you use your vocal register, and how you reproduce rhythmic nuances (adapt your voice to suit various styles performance).

• When assessing timbre, pay attention to the softness or hardness, harshness or smoothness, strength or weakness of the voice.

Part 2

How to learn to sing better

1. Use listening. Listen to a short melody or sound, then mentally imagine that melody or sound in complete silence. Next, imagine yourself singing this melody without making a sound. Finally, sing the melody or sound out loud.

   Private music teacher

   Annabeth Nowitzki is a private music teacher from Texas. She received her bachelor's degree in music from Carnegie Mellon University in 2004 and her master's degree in vocal music from the University of Memphis in 2012.

   Private music teacher

   Annabeth Nowicki, private vocal teacher:“Even though some people are naturally better singers than others, it is a skill that can be developed and improved. If you really love singing, then approach it wisely and work on yourself regularly.”

   Use your range and technique daily. Some people are naturally better at controlling their voices than others, but every singer benefits from practice. Continue to learn to control your breathing, develop your voice and hearing, and find that musical style, which best suits your tone.

   • Musical talent often develops parallel to musical talent. Get to know vocal techniques and learn to use your voice as an instrument. The more you know about the different components of proper execution, the more effective your practice will be.

2. Take vocal lessons. If you find someone who can teach you how to use your voice as an instrument, your singing will improve significantly. Choose a tutor who will not only teach you how to hit the notes correctly, but will also be able to develop your overall performance technique. A good teacher will tell you how to stand, breathe, move and read notes correctly while performing vocal parts.

   • If you have friends taking vocal lessons, ask them for recommendations. You can also rely on feedback from the choir director, local groups and ensembles.
   • Many teachers offer a trial lesson for free or at a reduced price. Take trial lessons from several teachers to choose best option. Did the teacher inspire you? Did you talk most of the class? Did you focus only on the voice or did you also pay attention to the technique?

3. Learn to accept constructive criticism. If you have a wonderful singing voice, you will already know this, as well as the reverse situation. Just as a beginner guitarist has to go through an awkward stage when he is still not very good at playing the instrument and does not always hit the strings, singers should work hard to improve their voice. Such skills are not given to a person from birth, but are acquired through hard work.

   • If someone told you that you can't sing, but you have desire learn, then continue to work tirelessly on your voice. Don't listen to ill-wishers. There are people who will never learn to sing, no matter how hard they try. If this is the case, then you will already know about it.

4. Join a music school or local choir to practice singing and develop your voice. Joining a choir is a great way to improve your vocal skills. You will be given the opinion of the choir director and other members about your abilities, and you will also have the chance to work in a team. Often, inexperienced performers are more comfortable singing with other people and not becoming the center of attention from critics.

   Continue to study and practice regularly to improve your technique. If you decide that you don't have natural ability, but you love to sing, then keep working. Your teacher will help you get the most out of your abilities. The joy of singing is available to everyone.

Part 3

How to test your innate abilities

1. Take a music deafness test. Musical deafness is the inability to correctly perceive the pitch of sounds. You can find several tests on the Internet that will allow you to identify the presence of such a problem. Find out if you can distinguish between high and low notes, or if you are part of the 1.5% of the population who suffer from “amusia” and cannot recognize pitch, tone and even rhythm.

   • Most online tests consist of a few short passages famous songs and motives. Listen to the passage and then indicate whether it was performed correctly.
   • Musical deafness does not mean you have a bad voice, but it does limit your ability to tune your voice to a specific song or tune.
   • Likewise, having difficulty controlling your singing voice does not mean you have music deafness. Good performance depends on many factors. It's possible that you just need to work harder.

2. Find out the opinions of people you trust. Just like singing in front of friends and family, play a recording of your voice to those closest to you to get their opinions. If your friend sings well, then ask him about the technical aspects. If the listener is not familiar with vocal techniques, then find out the first reaction.

   • Choose people who will give you an honest answer and whose opinions you trust. It is better not to contact a person who will either praise or criticize you.